‘The Novelist’s Film’ Review: Hong Sang-Soo’s Latests Is Yet Another Charming, Focused Autofiction [Berlin]

Richard Kuipers Folklore, feminism and film noir come together in Pushpendra Singh’s meticulously crafted fourth feature “The Shepherdess and the Seven Songs.” Set in the disputed Jammu and Kashmir region in Northwest India, this moody fable about an unhappy young bride plotting her escape from tradition and patriarchy is a gripping character study that stutters slightly in the latter stages before producing a magical finale that no-one will forget in a hurry. Singh’s beautifully shot film has traveled extensively on the festival circuit and picked up awards at Hong Kong and Jeonju since debuting at Berlin in 2020.

Resembling more of a personal tribute than exhaustive biography, Pietro Marcello‘s Lucio Dalla documentary, “For Lucio,” takes its title as an invitation. A rambling eulogy that is just as often confusing as it is profound, Marcello’s wisp of a film (running less than 80 minutes) may be missing key context for those not already versed in the life and music of the politically-oriented Italian singer-songwriter.

Leaves rustle in the wind, sand swiftly lifted from the ground as it resumes its nomadic journey, taking from one place to give to another. Around it, all seems to be consumed by stillness, but, in the safety of this deceiving quietness, life bursts through settled roots to create anew.

Premiering in the Special Gala section of this year’s Berlinale, the latest film from Italian director Dario Argento is surprising in more ways than one. Rather than copy the style of the giallo films from the 1970s and 1980s that made him famous (“The Bird with the Crystal Plumage,” “Deep Red,” and “Suspiria,” to cite just a few), his “Dark Glasses” finds ingenious ways to retain the core of the giallo while adapting to our current times.

Jamie Lang SF Studios has announced that the 2021 Berlin Generation Kplus player “Nelly Rapp: Monster Agent” is getting a sequel. The original was a hit among kids and parents alike in its native Sweden and won a pair of Swedish Guldbagge Awards. Based on Martin Widmark’s popular children’s books of the same name, the film features rising star Matilda Gross as the titular Nelly, a young girl who, along with her dog London, are dragged into a world of ghosts, vampires and werewolves.Johan Rosell will direct with Jon Nohrstedt and Niklas Larsson producing for SF Studios.

Patrick Frater Asia Bureau Chief“The Novelist’s Film,” which Wednesday earned Korean director Hong Sang-soo the Grand Jury Prize in Berlin, has scored multiple rights deals. With Seoul-based Finecut handling the rights sales, the film was licensed to Ama Films for Greece and Cyprus, Mimosa Films for Japan, L’Atalante Cinema for Spain, Arizona Films Distribution for France and to The Cinema Guild for the U.S.Finecut also did European Film Market business with “Contorted,” an unorthodox horror about a family tragedy.

Cinema Guild has acquired U.S. rights to The Novelist’s Film, the Silver Bear Grand Jury Prize winner from South Korean writer-director Hong Sangsoo, which recently made its world premiere at the 2022 Berlin Film Festival. The film is the third Silver Bear winner in as many years from Hong—who won Best Director for The Woman Who Ran in 2020 and Best Screenplay for Introduction in 2021—and will be the 11th of the director’s works released by Cinema Guild in the last seven years.

It sounds like the set-up to a French New Wave film: a French au pair falls in love with an Irish pickpocket leading to a whirlwind romance that changes both their lives. It might be twee, but Joan Verra (Isabelle Huppert) lived it, and on a long, rainy, nighttime drive reflects on the intense, yet fleeting relationship of her youth.

Sat in front of a computer, musician Nick Cave reads a few questions aloud. These are deeply existential musings sent in by people he has never met.

Guy Lodge Film CriticAll great actresses of a certain age should get to anchor as many starring vehicles as the indefatigable Isabelle Huppert. Her prolific output and enduring marquee-name status are testament to French cinema’s continued interest in women past the age where Hollywood mostly confines them to secondary mom roles.

Here’s another walking-and-talking film from festival favorite Hong Sang-soo, encapsulating a sliver of Korean life with his customary elusive delicacy. Shot largely in creamy black and white, Berlin competition entry The Novelist’s Film centers on the meeting between two artists who, for different reasons, have simply stopped working.

Despite her young age, Indian-born British actress Alia Bhatt has sustained herself as a leading lady in Hindi cinema for the past decade, racking up credits including Gully Boy, Raazi and Highway.

Elsa Keslassy International CorrespondentLoco Films, the Paris-based world sales and production company, has unveiled the trailer for Yulia Trofimova’s feature debut “The Land of Sasha” which is premiering today at the Berlinale, in the Generation 14plus strand.“The Land of Sahsa” tells the story of an indecisive 18-year-old struggling to pursue his desire to become a painter as his mother urges him to choose a safer career path. The sudden appearance of the boy’s estranged father complicates things further. But when Sasha has an unexpected encounter with an unusual girl called Zhenia, he realizes he has no choice but to finally grow up.“The Land of Sasha” was produced by Katerina Mikhaylova and Konstantin Fam for Moscow-based Vega Film.

The streets outside her window are dripping with hope, and yet Élisabeth (Charlotte Gainsbourg) is lost. It is Paris, 1981, a new president has been elected, and Élisabeth’s husband has left, claiming the thrillingness of motion by moving in with a new girlfriend while his ex is left with the stagnance of remaining, the apartment where they’ve raised their children, Judith (Megan Northam) and Matthias (Quito Rayon-Richter), at once comfortingly familiar and dreadfully new.

Of all the unsolved mysteries in Claire Denis‘ new Berlin Competition film, the biggest may just be its U.S. retitling to a generic and not particularly representative “Fire.” The film’s English title in the rest of the world, “Both Sides of the Blade” — a line from the terrific Tindersticks track that ends the film —is not just cooler and more compelling.

Few directors are better equipped to make an interesting and entertaining film in the middle of a pandemic than Quentin Dupieux. Seemingly unperturbed by this “new normal,” the French filmmaker continues on his recent string of cost-effective but impactful films, each revolving around a simple but conceptually bold ‘what if’ scenario, with “Incredible But True,” premiering in the Special Gala section of this year’s Berlin International Film Festival.

Demystifying and questioning the very notion of authenticity, Jason Kohn’s informative and oddly riveting, diamond-documentary “Nothing Lasts Forever” is ostensibly about the oft-antagonistic relationship between natural and synthetic diamonds. Yet, diamonds are an in-road as Kohn explores the commodification of such abstractions as love and desire, questioning how exactly a shiny rock — one that isn’t even that rare — became a physical manifestation of commitment.

Manori Ravindran International EditorEmma Thompson says the physicality of her performance in “Good Luck to You, Leo Grande” pushed her into uncharted waters as an actor learning to accept her body on screen.In the Sundance-premiering movie, which enjoys its European bow at the Berlinale on Saturday night, the British actor plays widow and former teacher Nancy, who has stepped outside her comfort zone for the first time in her life by hiring a sex worker, the titular Leo Grande (Daryl McCormack).Asked candidly during a Berlin press conference about a key scene where Nancy stands unmoving in front of a mirror, the 62 year old spoke passionately about the challenge of delivering an “untreated body” in a movie.“It was hard,” said Thompson solemnly. “This is homework for all of you. We’re only used to seeing bodies that have, you know, been trained … I knew that Nancy wouldn’t go to the gym.

Patrick Frater Asia Bureau ChiefOnly a few months ago, hundreds of Asian film executives were expecting to attend this week’s Berlin festival and the European Film Market. For many, it would have been their first participation in a top-tier overseas festival for nearly two years.But the Omicron variant has upended those dreams. And, except for those folks with a film playing in the festival, most have stayed at home.

Just as the Tiktok-ers and Instagrammites of the world had completed the mainstreaming of ASMR, master of the tactile Peter Strickland has returned to restore the unsettling, alien quality to sensation. In “Flux Gourmet,” his latest and most bizarre film — a hotly contested title he earns with this feverish stew of murdered turtles, torrid orgies, and heartrending fart-tending — texture is everything.